Statistics point out the low percentage of women in Congress (18.8%) or how few women head up Fortune500 companies (4.2%). But this discrepancy is not only limited to workplace professionals or government officials. Much as been written nationally--and internationally--regarding the lack of women’s voices in playwriting and directing. In December 2012 the Guardian published several articles about the 2:1 ratio of men to women working in many aspects of theater in Britain. The numbers are not much different in the United States. Only twenty percent of all productions are written by women. Despite the lack of women at the top, a PEW study released in late May 2013 found that more and more women are becoming the primary or sole breadwinners in American families (40%). To quote Destiny’s Child "I worked hard and sacrificed to get what I get/Ladies it ain´t easy bein´ independent".
During World War II women were entering the workforce in large numbers for the first time in history, often taking traditionally male jobs. What once was a temporary war effort has since transitioned into the growing trend of women as the breadwinners in today’s economy. By the late 90s/early 2000s girl power-pop anthems told today’s young women that they could do anything and be anything - without the help of a man. Using Destiny’s Child’s Independent Women pt. 1 - an anthem of financial, emotional and sexual independence - as a jumping off point, this production will extend into a larger exploration of feminism in pop culture, through the lens of women entering the workforce, both in WWII and now. INDEPENDENT WOMEN is a theatrical mash up of original words, found text, song, and movement work.
Created and performed by
Kira Atwood-Youngstrom, Elizabeth Gibbs, Sarah McGregor, Rachel Rosenfeld, Zoe Rudman, and Cari Spinnler
With design by
Ashley Hollingshead (set & props), Vanessa Janson (lighting), Nikki Martin (sound), and Summer Olsson (costumes)
stage management by
Erin Giblin and Rikki Barney(ASM)
And direction by
We will be using the money to pay all of the folks involved, pay for design budgets, space rental, marketing, publicity, documentation, and all of those weird little things that you suddenly realize you need at the last second.
Risks and challenges
As a director, I prefer to keep the risks on-stage rather than off. I've put together an amazing ensemble and design team to create this piece. We've been rehearsing since October 2013, and we are entering our final stages our process -- now is the time to add the theater magic. With your support, nothing will stand in our way.Learn about accountability on Kickstarter
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